The annual Grounation (symposia and exhibition) series will kick off today at the Institute of Jamaica. The signature event — staged by the Herbie Miller-led Jamaica Music Museum — will devote four weeks to examining the role of the Chinese in the development of Jamaican Music, under the theme: ‘Black Head Chiney Man’.

Tom “Great Sebastian” Wong provides one of the earliest examples of Chinese involvement in the Jamaican music industry . He had a store/shop at the corner of Luke Lane and Charles Street.

Tom knew the value of using music to attract customers and set up what many consider to be one of the earliest examples of the Jamaican sound system. This he did with the technical support of the great Hedley Jones, who would be responsible for the design and assembly of much of the electronic equipment used in early Jamaican studios and sound systems.

There are those who point to Ivan Chin as another example of early Chinese involvement in the nascent Jamaican music industry. Chin produced the recordings of mento star Alert Bedassee, whose risqué musical offerings “scandalised polite society” during the ’50s. Bedasee’s Night Food is considered by many to be among the first recorded Jamaican hits.

Also numbered among the pioneers is one Vincent “Randy” Chin, whose eponymous record store and studio at North Parade would produce some of the earliest classics at the dawn of Jamaican Independence with the Trinidad-originated artiste Lord Creator. One of the products of that musical collaboration was Kingston Town, which became a major international hit through a cover done by British-based group UB40.

Chin would have justly staked his claim as a major player in the history of Jamaican music had he simply confined his legacy to his exploits at North Parade. However, he and his wife, Patricia, would later move to the United States and establish VP Records which would become the biggest international purveyor of Jamaican music since the Chris Blackwell-helmed Island Records.

VP was responsible for the distribution of Beenie Man’s Grammy-nominated Many Moods of Moses album, which features the Jeremy Harding-produced Who Am I? (Zim Zimma). VP can also take credit for Sean Paul’s multi-platinum album Dutty Rock, which featured the classic Gimme Di Light. It is safe to say that nearly all Jamaican artistes who have broken internationally during the last two decades (including TOK and Tanto Metro and Devonte) owe their success in a large measure to VP Records.

A contemporary of Randy Chin was Leslie Kong, who attended the famed St George’s College (my alma mater) as did another musical stalwart, Byron Lee, and so many other noted contributors to the music business. According to legend, one James Chambers (with a song in his heart) went to see Kong who operated an ice cream parlor. Kong would find the song Dearest Beverly, dedicated to his daughter, irresistible. Chambers (Jimmy Cliff) would go on to score a number of major hits for Kong and his label.

It was Kong, at the behest of Cliff, who would record Bob Marley’s first two singles: One Cup of Coffee and Judge Not. Kong, who died suddenly at 38, established a reputation as a producer, who was able to satisfy the requirements of the international market.

Among Kong’s roster of artistes was Desmond Dekker, who would provide Beverley’s with the international hit Israelite, which was a top-10 song in both Britain and the United States. It is fair to say that Israelite was one of the first international hits done entirely in the Jamaican vernacular.

It was through Derrick Morgan, father of Queen Ifrica (Ventrice), that the symposium would draw its name. Morgan was affiliated with the Voice of the People label, which was controlled by the colourful Prince Buster and made a switch to Kong’s imprint. This move sparked a lyrical feud between the two labels. Buster stung by what he saw as a betrayal by his own race, labelled Morgan a “Blackhead Chiney Man”.

These were but a few of the legendary entrepreneurs of Chinese descent who were instrumental in the development of modern Jamaican music. What is clear is that historically the Chinese were close to the passions of most Jamaicans of African descent.

The fact is that the Chinese lived among the majority of the Jamaican population in what we now pejoratively refer to as the ghetto, an area which was dotted with what were fondly described as Chiney Shop.

The Chinese- Jamaicans would usually live atop or behind their places of business.

In the communities of Hannah, Denham, and Jones Town — where I spent most of my formative years —the Chinese were not only owners of grocery shops but also restaurants, ice cream parlors, bakeries and betting shops. They were also involved in what were deemed illegal games of chance, which included Drap Pan and Pyaka Pow. These games were often sold from some seedy holes in the wall which were the subject of frequent raids by the police. It is clear that the Chinese penchant for risk-taking was a good fit for the music business and given their closeness to the creators, the potential for successful synergies was basically guaranteed.

• Clyde McKenzie is founding general manager of reggae radio IRIE FM and a principal of Shocking Vibes Production.